And See The Naked Fat Guy
Back in the day, I was associated with the Billboard Liberation Front (a little odd, considering what I once did for a living, but there you are).
The basic concepts of the BLF (and don't take my word for it: read the Manifesto) were essentially that the materialism and commercialism expressed in billboard advertising were part of the mass deadening of our culture, and so fair game for artistic manipulation which revealed said deadening -- like Adbusters, except the BLF came first and wasn't available in bookstores. You had to look up and experience it -- or, actually do it.
So when I recently noted the art collective, Indecline, had been out and about in Los Angeles, it stirred a few memories.
Consider the logistics necessary to do something like this in an urban area -- reconnoitering the site; having access to the platforms; creating the artwork to match fonts, sizes and background colors; hauling all materials up narrow ladders; and completing the work rapidly enough to avoid being seen, and any unpleasantness with the local constabulary. Normally, this is done in the dead of night.
Indecline had already garnered some notoriety prior to the 2016 election by creating, and publicly displaying, life-sized statues of a naked Wonderboy in several large American cities (regarding their naked Il Duce statue, placed in New York City's Union Square, a spokesman advised, "NYC Parks stands firmly against any unpermitted erection in city parks, no matter how small"). Earlier this year, they had created a jail cell in a Trump hotel in New York for a Trump lookalike in a MAGA hat.
I should note that, sadly, no one performs this sort of consciousness-raising exercise on a billboard regarding the state of the Democratic party. But don't worry; it's all in Good Fun, and the future is bright and shiny and tasty and fun.
And, Wonderboy continues to gain weight in office, while the rest of us are driven mad -- meaning there will most likely be future billboards in need of liberation. Like this one:
Back in the day, I was associated with the Billboard Liberation Front (a little odd, considering what I once did for a living, but there you are).
The basic concepts of the BLF (and don't take my word for it: read the Manifesto) were essentially that the materialism and commercialism expressed in billboard advertising were part of the mass deadening of our culture, and so fair game for artistic manipulation which revealed said deadening -- like Adbusters, except the BLF came first and wasn't available in bookstores. You had to look up and experience it -- or, actually do it.
So when I recently noted the art collective, Indecline, had been out and about in Los Angeles, it stirred a few memories.
(Photo: ©Indecline, via Art Newspaper, June 22, 2018)
Consider the logistics necessary to do something like this in an urban area -- reconnoitering the site; having access to the platforms; creating the artwork to match fonts, sizes and background colors; hauling all materials up narrow ladders; and completing the work rapidly enough to avoid being seen, and any unpleasantness with the local constabulary. Normally, this is done in the dead of night.
Indecline had already garnered some notoriety prior to the 2016 election by creating, and publicly displaying, life-sized statues of a naked Wonderboy in several large American cities (regarding their naked Il Duce statue, placed in New York City's Union Square, a spokesman advised, "NYC Parks stands firmly against any unpermitted erection in city parks, no matter how small"). Earlier this year, they had created a jail cell in a Trump hotel in New York for a Trump lookalike in a MAGA hat.
I should note that, sadly, no one performs this sort of consciousness-raising exercise on a billboard regarding the state of the Democratic party. But don't worry; it's all in Good Fun, and the future is bright and shiny and tasty and fun.
And, Wonderboy continues to gain weight in office, while the rest of us are driven mad -- meaning there will most likely be future billboards in need of liberation. Like this one:
(Margaret Bourke-White, 1937)
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